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CD98 |
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Johannes Ockeghem | |
complete works | |
Almost randomly I chose to look into the music of Ockeghem (I think his name is pronounced okay-gem.) There are three big volumes of his surviving collected works, so since I have recorded all of his works. I am presenting them in three volumes (CD98A, CD98B &C.) Volume one is his Masses No.'s 1 - 8 (find all notes on this page.) Volume two is his Masses No.'s 9-14 (click here for that page.) Volume three is his Motets and Chansons (click here.) Before I started over with the project, I recorded over 80 minutes of music. These works recorded were mostly four part works and I used my Finke triple horn for the upper two voices and a Kruspe double horn that look just like a conn 8D for the lower voices. I will makes these available somewhere. XXX
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Released: date |
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Performed by: Richard Burdick's horn & swam ensemble | |
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actual program notes
Renaissance Composer:Johannes Ockeghem (1430-1497)The earliest reference to Ockeghem as a singer shows that he was a vicaire-chanteur at Notre Dame, Antwerp, for a year from June 24, 1443. His déploration on Binchois’s death (1460) suggests a connection with the Burgundian ducal chapel where Busnois and Dufay worked. He entered the service of Charles I, Duke of Bourbon, in Moulins in the mid-1440s and was a member of the chapel in 1446-48. In the year ending September 30, 1453, he is cited in the French court archives ‘nouveau en 1451’. This service continued during Louis XI’s reign, though he held other offices, including a canonry at Notre Dame, Paris (1463-70). In 1470 he visited Spain, in 1484 Bruges and Dammes. After Louis’s death he remained premier chapelain and was still on the payroll in 1488. He enjoyed an enviable personal and professional reputation. His most imposing works are his Mass settings. Several are based on pre-existing material, sacred or secular. The level of contrapuntal skill and artistic excellence of his music laid a foundation for the achievements of Josquin’s generation.
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MOTETS
CHANSONS UNDISPUTED 11. Aultre Venus 12. Baisiés moy 13. D'un autre amer 14. Fors seulement l'actente 15. Fors seullement contre 16. Il ne m'en chault 17. J'en ay dueil 17a. J'en ay dueil 18. La descpourveue 19. L'autre d'antan 20. Les desléaulx 21. Ma bouche rit 22. Ma maistresse 23. Mort tu as navré 24. O rosa bella 25. Prenez sur moi (Fuga trium vocum) 26. Prenez transi 27. Quant de vouos seul 28. Qu'es mi vida 28a. Qu'es mi vida (Johannes Cornago) 29. S'elle m'amera--Petite camusete 30. Se vostre cuer 30. Tant fuz gentement 32. Ung aultre l'a DOUBTFUL 33. Au travial suis 34. Departés vous 35. Malheur me bat 36. Permanent vierge SUPPLEMENT 37. Ergone conticuit ("In Ioannem Okegi Musicorum principem Naenia") (Johannes Lupi?) |
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EDITORIAL NOTES: MOTETS UNDISPUTED 1. Alma Redemptoris mater 2. Ave Maria 3. Intermerata Dei mater 4. Salve regina (1) 5. Ut heremita solus 6. Vivit Dominus DOUBTFUL 7. Caeleste beneficium 8. Deo gratia (Canon XXXVI vocum) 9. Gaude Maria 10. Salve regina (II) CHANSONS UNDISPUTED 11. Aultre Venus 12. Baisiés moy 13. D'un autre amer 14. Fors seulement l'actente 15. Fors seullement contre 16. Il ne m'en chault 17. J'en ay dueil 17a. J'en ay dueil 18. La descpourveue 19. L'autre d'antan 20. Les desléaulx 21. Ma bouche rit 22. Ma maistresse 23. Mort tu as navré 24. O rosa bella 25. Prenez sur moi (Fuga trium vocum) 26. Prenez transi 27. Quant de vouos seul 28. Qu'es mi vida 28a. Qu'es mi vida (Johannes Cornago) 29. S'elle m'amera--Petite camusete 30. Se vostre cuer 30. Tant fuz gentement 32. Ung aultre l'a DOUBTFUL 33. Au travial suis 34. Departés vous 35. Malheur me bat 36. Permanent vierge SUPPLEMENT 37. Ergone conticuit ("In Ioannem Okegi Musicorum principem Naenia") (Johannes Lupi?) |
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